What lies at the basis of artistic creativity. Personal characteristics of students with different creative orientations

Aesthetic attitude to life and artistic creativity

Aesthetic attitude is the basis of human artistic abilities

According to the tradition established in psychology, abilities for various types of art are classified as “special”; as such they are distinguished from “general”, by which we usually mean general mental abilities. At the same time, psychologists do not separate the problem of general talent from the study of abilities for specific types of activities and even specifically emphasize their inseparability. Thus, S. Rubinstein wrote: “Within certain special abilities, the general talent of the individual is manifested, correlated with the more general conditions of the leading forms of human activity”; B. Teplov preferred not to talk about general and special talent separately, since within giftedness for specific types of activity there are both more general and more special aspects.

Consequently, one or another understanding of the “general aspects” of giftedness cannot be neutral for the study of special abilities. On the contrary, it largely predetermines the paths and results of this study.

In a number of cases, understanding general abilities as mental ones allows one to move smoothly to the study of special abilities. For example, the general mental ability to generalize acts as a mathematical ability when it is “specialized” and shows its strength mainly on mathematical material. It is easy to imagine a number of other modifications of the same ability to generalize, included in the structure of abilities for other types of theoretical-cognitive activity. But with all the importance of intelligence in artistic creativity, it would be a clear stretch to assert that the talent of a painter or musician is a modification of the same qualities that underlie theoretical-cognitive activity. What has been said, in particular, was confirmed in a study of the characteristics of generalization in artistically gifted people, which is presented in the next chapter.

It is known that abilities for different types of art often “coincide” in the same people. Trying to explain this fact, B. Teplov, B. Ananyev and other scientists actually came into contact with the problem of general artistic abilities.

It receives interesting coverage in the works of V.D. Rankova.

From our point of view, the basis of a person’s general artistic abilities lies in EE to reality, which represents, as it were, a single root of all types of artistic exploration of the world, and is present as a “common moment” within various types of artistic and creative talent. And more specialized abilities (literary, musical, etc.) act as its concretization in relation to individual areas of art, which reflect the world differently, work with different materials, require different sensory “support”, different training, etc.

As for truly general (we would say general creative) abilities, the path to solving this problem cannot be to reduce different types of abilities to mental, different types of creativity to intellectual. To do this, from our point of view, we need to come to generalizations of a higher order, considering both EO towards the world and similar personality qualities that underlie other types of creativity, as various forms of manifestation and self-realization of a person’s creative self.

Arguing that EO represents the psychological basis of all types of artistic abilities, we well understand that the activities of a musician, painter, poet or artist manifest many qualities that cannot be directly reduced to EO.

Does this mean that EO is the “main” ability among others? And if so, what is the fundamental difference between our approach and the “component” one? After all, it also allows for hierarchization, the identification of certain abilities as “leading”, uncompensated, etc.

We said that developed EO transforms in a specific way the data of a person’s life experience, turns this experience into fertile soil for the emergence of artistic ideas, which makes a person capable of artistic creativity.

But, from a psychological point of view, transforming a person’s life experience means, first of all, transforming his psyche. To transform the data of everyday experience into the potential content of works of art means to transform the qualities of the psyche, adequate to the tasks of everyday life, into the ability for artistic creativity. From this point of view, EO does not top the list of artistic abilities, but creates them. In other words, certain mental qualities act as abilities for artistic creativity when they belong to a person who has developed EO and solve specific artistic problems generated by this attitude, i.e. become organs of creative self-realization of the EO carrier.

Outside of this whole, certain qualities can be, as noted above, only prerequisites for artistic abilities - more or less favorable, but neutral from the point of view of the tasks of art. Let's explain this with examples.

Imagination is considered to be an important artistic ability. However, imagination, understood as the ability to operate internally with the material of previous impressions, recombine them, etc., does not contain anything specifically artistic and is not adapted to solving specifically artistic problems. It is a necessary prerequisite for both artistic creativity and all other types of human activity.

But in the structure of artistic and creative abilities, imagination exists not as an isolated mental quality, but as a subordinate moment of the artist’s special holistic relationship to reality. In aesthetic experience, a person perceives the external appearance of objects and phenomena as a direct expression of their non-utilitarian value and related inner life. When the experience is strong enough, it gives rise to the need to consolidate and objectify this revelation of the humanized world and one’s own involvement in it, which initially exists only as a fact of the artist’s inner experience. This stimulates and directs the work of the imagination to create such a sensually perceived image that will contain - imagine - the non-figurative, or super-figurative content of aesthetic experience. In the apt expression of R. Arnheim, “in those moments when a person becomes an artist, he finds a form for the incorporeal structure of what he feels.”

This specific goal is subject to the psychological processes of transforming sensory data, creating new images based on previous impressions, as well as the search for expressive artistic means.

Thus, imagination, being a subordinate element of EO, acquires a focus on creating a sensual image that adequately reveals the supersensible content of the work. In this capacity, it really acts as the most important artistic ability, in its psychological essence, like EO, common to all arts.

But this means that the processes of perception or memory undergo a similar transformation and also acquire specific selectivity, a certain vector orientation. They isolate, record or restore, as material for the work of the imagination, precisely those impressions of reality, signs of objects, events, sounds, words, intonations, colors, with the help of which one can weave the most expressive sensory image for a “disembodied” artistic concept - a pictorial, verbal, plastic, musical, i.e. imagine this idea through the means of one art or another.

To be consistent, it should be recognized that as subordinate components of the imagination, and therefore, ultimately, of the aesthetic attitude, these aspects of the psyche also acquire the status of artistic abilities. (We are not now touching on the complex issue of the emotional sphere and, in particular, about a person’s emotional memory, which also undergoes an “aesthetic transformation” and in this new capacity plays a huge role in artistic creativity.)

Mental qualities associated with activities in specific types of art also follow the same pattern. Thus, contrary to the apparent evidence, subtle color-distinguishing sensitivity in itself is not a painter’s ability: it is only a feature of the visual analyzer, which allows one to differentiate the color characteristics of objects and can be useful both in everyday life and in many professions that have nothing to do with art. nothing to do with creativity (for example, a fabric dyer, a steelworker, a pilot). It can only be considered a favorable but neutral prerequisite for the ability of a painter. It’s another matter when subtle color discrimination is a property of a person with developed EO. After all, such a person sees in flowers not just objective signs of things, but living entities of a special kind, possessing their own “character”, “mood”, and, consequently, a certain range of expressive possibilities”12.

Naturally, in such a person, subtle color discrimination (inseparable from specific emotional responsiveness to color impressions) acquires the status of an important artistic ability and “dissolves” in the work of the imagination, helping to create the most expressive color image. The same applies to other features of the visual analyzer (for example, the visual memory of a scout or tourist solves completely non-artistic problems), and to pitch hearing (the hearing of a tuner, as B. Teplov noted, differs significantly from the hearing of a creative musician, although in subtlety it may surpass it), and to basic linguistic abilities, etc. Only when included in the process of creating an artistic image, stimulated by the EO to reality and the specific experiences that it carries with it, are all these qualities transformed into artistic abilities.

The examples given concerned mainly those mental qualities that are generally considered artistic abilities; we tried to show that taken outside the whole that embraces and transforms them - the EO of man to the world - they are not such.

At the same time, those qualities and aspects of the human psyche that seem to have no relation to artistic abilities and, in any case, are not specifically considered in this context, under the influence of developed EO can also acquire artistic and creative specificity. This concerns, for example, the features of generalization processes (which we will discuss below) or such holistic characteristics as personal value.

And if this is so, the assumption expressed in general form in Chapter One seems reasonable: the ability to create (in particular, artistic) is not some group of qualities that is different from others that are not abilities, not a special “part” of the psyche, but rather its special “state”. Essentially, the “entire psyche” of a person appears as a plastic set of prerequisites that can be mobilized, combined, transformed into abilities for one or another type of creativity under the influence of one or another dominant relationship of a person to being.

Thus, the sails “by themselves,” like pieces of fabric, are not an actual means of moving the ship in any particular direction (although the properties of this fabric are far from indifferent to possible navigation): the wind makes them so, giving them the appropriate configuration and tension13.

If we accept this point of view, then the main task of the researcher of creativity abilities will not be to clarify, structure, or hierarchize the list of qualities necessary to work in any particular field of art, although attention to this aspect of the matter can play an important auxiliary role and in research and teaching work.

The main task is to comprehend the psychological essence and conditions of those transformations that undergo various qualities and aspects of the psyche, becoming a “subordinate moment” of a person’s EO to the world, i.e. abilities for artistic creativity, i.e. organs of self-realization of the creative self in the field of art, created on the basis of universal human psychological qualities.

With this approach to the problem, speaking about EO as the basis of artistic creativity abilities, we cannot help but touch once again on the motivational aspects of this personal quality.

First of all, let us recall that in the first studies of the problem of giftedness, carried out in line with individual psychology (the work of V. Stern, G. Reves, A. Lazursky), the concepts of abilities and inclinations were not strictly differentiated, and the child’s inclination to any activity, intense and sustained interest in it was considered as an indication of hidden talent, as the primary form of its manifestation. We see in this a concretization of one of the important provisions of understanding psychology - about the leading role of motivations in the mental development of a person (see Chapter 1).

It seems that the possibilities of this approach, primarily in the study of creativity, have not yet been revealed.

When abilities are considered in educational and reproductive terms as a set of qualities necessary to perform an activity, then the separation of “abilities as such” and motivation for a given activity seems natural and easy. Then the psychologist says that ability is only one of the conditions, or “components,” of success; that without perseverance, without love for one’s work, good abilities mean little, but with modest abilities, a hardworking student can achieve a lot; gives examples of how a person “very capable” of some activity did not like it and avoided it, etc.

S. Rubinstein considered the issue of the relationship between abilities and motivation much more deeply, believing that in order to form any significant ability, one must first of all create a vital need for the appropriate type of activity. Here abilities and needs do not simply interact externally, helping or contradicting each other; the very emergence of the ability is determined by the corresponding need. Nevertheless, the boundary between them is still clearly visible.

When we move on to the study of creative abilities, based on the fact that they are based not on individual mental qualities, but on a person’s special attitude to reality, then this boundary becomes practically indistinguishable, and we can only talk about two conventionally distinguished aspects of a single quality. This applies, of course, not only to artistic abilities. For example, the mathematical orientation of the mind, which V. Krutetsky described as an ability, with no less right can be called a need or inclination to consider all the phenomena of life in a mathematical aspect. Research by D. Bogoyavlenskaya has shown that in intellectual creativity, mental abilities and motivational factors form a unity, “where abstraction of one of the parties is impossible.”

EO to life acts as the basis of artistic abilities: it transforms the content of a person’s life experience into the potential content of works of art; it involves individual qualities of the psyche in the formulation and solution of creative problems and specifies them, giving them the status of artistic abilities. At the same time, it is also the source of human need both for aesthetic experiences themselves and for their design and objectification in artistic images.

Our work is devoted mainly to the first aspect of aesthetic attitude; As for the second, we will limit ourselves to a few hypothetical considerations that can serve as guidelines for a more thorough study of this important problem.

Firstly, as already noted, EO provides the experience of expanded self-awareness and self-awareness in a “humanized” world, one’s own universality and uniqueness, essentially the experience of more or less conscious “encounters” with one’s own higher self - the cause and goal, the alpha and omega of human development individuality. This gives rise to a deep personal need to renew, expand, and comprehend such experience14. Under certain conditions that require special study, on this basis there arises a need for design, preservation, and objectification of this experience, an adequate form of which is the creation of artistic images.

It can be assumed that this happens in cases where EO acquires a dominant role in a person’s inner world, modifies his psyche as a whole, which determines the “qualitative leap” from an aesthetically developed person to a creatively working artist. Perhaps in such cases it is advisable to talk about the “aesthetic position of the individual,” in contrast to the EO towards the world, which every person can and should develop in himself. We still have to consider the relationship between the artistic and universal aspects of EO in the future.

Since EO underlies both abilities and needs in artistic creativity, a person’s potential ability to aesthetically transform impressions of reality, that is, to artistic creativity, reveals itself in a corresponding need. In turn, a person’s need for aesthetic experiences and creativity acts as evidence of the corresponding ability, as the energy of its actualization and development. No wonder V. Van Gogh wrote that if a person wants to become an artist, he can become one; V. Goethe considered a person’s desires to be harbingers of his capabilities; T. Mann argued that talent is a need.

We just need to remember that we are talking specifically about the need to aesthetically transform the impressions of life, to “seriously translate one’s life into words” and into the material of other types of art, and not about the need of a graphomaniac to create texts similar to models accepted in art; not about the desire to live the life of artists and performers, to be among them, to do the same as they do; not about the thirst for self-affirmation through art, etc. Such needs, no matter how painful they may reach, can exist completely independently of abilities and do not promise success in creativity.

Finally, it is necessary to touch upon the issue of the possibility of developing EO. How elitist or, on the contrary, universal is this quality? Can a teacher, student, artist purposefully work on its development? Only long-term psychological and pedagogical research will allow us to answer with confidence, but we will express some preliminary considerations in favor of the possibility of developing EE now.

We proceed from the assumption of the dual nature of EO: it acts, on the one hand, as a universal human ability, a property of a developed personality; on the other hand, as the basis of special artistic abilities. And it is impossible to assert the universal significance of art if we do not assume that the EO underlying it is potentially characteristic of everyone. Otherwise, art would only be meaningful to a narrow circle of professionals. In its first aspect, EE should be accessible to development in almost all people, no less than, for example, logical thinking or the distinction between good and evil, which, however, does not exclude huge differences between people in all these respects.

As M. Prishvin wrote, “the artist’s ability to see the world means an endless expansion of the usual ability of all people for related attention (this is how the writer defined a quality very close to what we call EO. -A.M.). The limits of this kindred attention are endlessly expanded through art - this ability of especially gifted people, artists, to see the world from the outside."

In other words, the activity of a professional artist and the results of this activity (works of art), which in modern cultural and historical conditions have extremely concentrated the “aesthetic potential” of humanity, can, in turn, contribute to the awakening and development of EO to life in all people.

Let us only add that the “infinite expansion” that Prishvin speaks of must still be understood not in a purely quantitative sense, but rather as a kind of qualitative leap that transforms the universal human ability to feel the non-utilitarian value of the phenomena of life, one’s own involvement in the world around us, into an “ability-need” » embody the content of aesthetic experiences in artistic images. Here lies a moving boundary separating the area of ​​general aesthetic education from the area of ​​preparation and self-training of the artist.

Can EE be the subject of self-development or targeted pedagogical influences? The experience of many outstanding masters of art shows that EO was not given to them “ready-made”, in a completed form; they developed it consciously and purposefully, sometimes throughout their lives.

V. Goethe says in his autobiographical work: “I tried... to look with love at what is happening outside, and to expose myself to the influence of all beings, each in his own way (here and below italics are mine. - A.M.), starting with human being and further - in a descending line - to the extent that they were comprehensible to me. From here arose a wonderful kinship with individual natural phenomena, internal consonance with it, participation in the chorus of the all-encompassing whole...” The great Chinese painter looks back at the path traveled with a retrospective glance: “Fifty years have passed, and still there was no joint birth of my Self and the Self of mountains and rivers, not because they did not have (worthy of attention) value: - (simply) I left them to exist on their own by oneself" .

These statements, vague and “metaphorical” for someone who would expect to acquire EO only through their rational assimilation (which is equivalent to the attempt of a textbook scholastic to first learn to swim and then enter the water), will turn out to be understandable and useful to everyone who seeks to practically develop in themselves this is quality. But something else is important for us now: outstanding artists testify that the purposeful and effective development of EO towards peace is possible.

Finally, a number of studies conducted in the conditions of a youth literary and creative studio, in general aesthetic development circles for children 6-8 years old and in a comprehensive school with students of different ages, allow us to believe that the development of EO is, in principle, possible in many children and that it is real leads to an increase in the creative achievements of students, although it does not equalize everyone in this regard.

Artistic creativity

Human creativity and, in particular, artistic creativity is considered, first of all, not in the aspect of creating something new in the relevant field of culture, but in the aspect of self-realization of the human creator.

The ability to be creative cannot in principle be derived from mastering the corresponding type of activity or even culture as a whole (although without such mastery it cannot be actualized or put into practice). For example, a person’s ability for musical (mathematical, etc.) creativity generates and constantly updates music (mathematics, etc.), and therefore cannot arise as a result of mastering already existing forms of this type of activity.

A.A. turned to literature of religious, philosophical, mystical and ascetic content, preserving the experience of self-knowledge and self-education of outstanding representatives of different eras, peoples and cultures. Melik-Pashayev. He concludes that there is not only an empirical “I” of everyday self-awareness, but also a higher “I”, which contains the full range of possibilities that can be revealed in the future by a person passing his way in conditions of spatio-temporal restrictions and a certain socio-cultural environment.

The ideal “I” in psychology and the higher “I” of spiritual experience are completely different concepts. The idea of ​​the higher “I” (not a formulation, but an idea) is universal. Man is essentially a creator, and the process of human development in a certain sense can be called “the creation of oneself,” which is expressed in the more or less complete realization of the higher “I” in a person’s self-awareness and activity. Such spiritual creation of oneself ideally seems to be the core, or the single basis of any truly creative manifestations of a person in specific areas of activity, spheres of culture. Therefore, the expression “creative self” of a person was proposed as one of the synonyms for the higher “I”.

A special role in the actualization and maintenance of the main driving force of development - the need to realize one’s own creative “I” - is played by the psychological phenomenon that A.A. Melik-Pashayev figuratively called “meetings with himself” - more or less conscious “breakthroughs” of the higher “I” into a person’s everyday consciousness and worldview, giving him a foresight of his true capabilities, and sometimes the path of his future creativity.

The ability to be creative is not a collection of individual qualities, each of which in itself is a certain ability. On the contrary: individual abilities that can and should be distinguished in the psychological appearance of a scientist, artist, etc., are manifested by his characteristic holistic attitude to the world, and it is precisely because of this that they become creative abilities.

Thus, abilities act not as a special “part” of the psyche, but as a special “state” of it, ultimately, perhaps, as the “whole” psyche, mobilized and changed by that specific attitude towards the world and towards oneself, which determines the sphere of creativity human self-realization.

A.A. Melik-Pashayev together with Z.N. Novlyanskoy conducted a study of this problem, during which the characteristic “aesthetic position” or “aesthetic attitude” (EO) to reality appeared. It can be described as an attitude in which certain important impressions and experiences are not resolved in life itself (in actions, emotional reactions, etc.), but require the creation of a special reality - works of art.

The conscious experience of unity with the subject and with the world as a whole is an absolutely necessary condition for the origin and implementation of artistic ideas, i.e. It is EO that makes a person capable of artistic creativity.

Striving to expand aesthetic experience and realizing it in works, a person affirms not only the reality and value of the picture of the world that opens to him, but also his own creative self, to whom this picture of the world is accessible and proportionate. The motivating power of EO lies in the fact that artistic creativity can truly become a path of self-knowledge and self-realization.

The most important feature of EO is the specific sensitivity of a person to the form of objects and phenomena of the world. Those. he perceives the specific, unique and transient appearance of things and phenomena not just as their external side, but as an expressive image, a direct expression of the internal state, mood, character, fate - that inner life that is akin to man, which EO finds in all phenomena of existence.

Human artistic creativity is only one of the ways of contact with the creative “I” and its implementation in a general cultural sense. Just as the ability for artistic creativity is based on EO, so other types of creativity should be based on a special attitude to reality, which transforms certain qualities into corresponding abilities and turns a person’s entire life experience into a source of creative ideas in a given area.

The single non-specific core of different types of creativity should be a person’s effort to get closer to his true Self, to realize it to the maximum extent in empirical reality.

Artistic creativity begins with keen attention to the phenomena of the world and presupposes “rare impressions”, the ability to retain them in memory and comprehend them.

An important psychological factor in artistic creativity is memory. For an artist, it is not mirror-like, selective and of a creative nature. The creative process is unthinkable without imagination, which allows the combinational and creative reproduction of a chain of ideas and impressions stored in memory. Imagination has many varieties: phantasmagoric - in E. Hoffman, philosophical and lyrical - in F. I. Tyutchev, romantically sublime - in M. Vrubel, painfully hypertrophied - in S. Dali, full of mystery - in I. Bergman, real -strict - by F. Fellini, etc. Consciousness and subconsciousness, reason and intuition participate in artistic creativity. In this case, subconscious processes play a special role here.

American psychologist F. Barron used tests to examine a group of fifty-six writers - his compatriots - and came to the conclusion that among writers, emotionality and intuition are highly developed and prevail over rationality. Of the 56 subjects, 50 turned out to be “intuitive individuals” (89%), while in the control group, which included people who were professionally far from artistic creativity, there were more than three times fewer individuals with developed intuition (25%).

In the 20th century the subconscious in the creative process attracted the attention of 3. Freud and his psychoanalytic school. The artist as a creative personality was turned by psychoanalysts into an object of introspection and criticism. Psychoanalysis absolutizes the role of the unconscious in the creative process, bringing to the fore, in contrast to other idealistic concepts, the unconscious sexual principle. An artist, according to Freudians, is a person who sublimates his sexual energy into the area of ​​creativity, which turns into a type of neurosis. Freud believed that in the act of creativity, socially irreconcilable principles are displaced from the artist’s consciousness and thereby eliminate real life conflicts. According to Freud, unsatisfied desires are the motivating stimuli of fantasy. Artists themselves pay attention to the importance of intuition in creativity.

Thus, in the creative process the unconscious and the conscious, intuition and reason, natural gift and acquired skill interact.

And although the share of the creative process attributable to the mind may not predominate quantitatively, qualitatively it determines many essential aspects of creativity. The conscious principle controls his main goal, the ultimate task and the main contours of the artistic concept of the work, highlights the “bright spot” in the artist’s thinking, and his entire life and artistic experience is organized around this light spot. The conscious principle provides introspection and self-control of the artist, helps him to self-critically analyze and evaluate his work and draw conclusions that contribute to further creative growth.

The role of consciousness is especially important when creating large-scale works. If a miniature can be executed on a whim, then a large work needs deep, serious consideration. It is appropriate to recall in this regard what L. N. Tolstoy wrote about “War and Peace”: “You cannot imagine how difficult this preliminary work of deep plowing of the field in which I am forced to sow is for me. To think and change my mind about everything, what could happen to all the future people of the upcoming composition, a very large one, and thinking through millions of possible combinations in order to choose 1/1000000 of them is terribly difficult.”

The creative process is especially fruitful when the artist is in a state of inspiration. This is a specific creative psychological state of clarity of thought, intensity of its work, richness and speed of associations, deep penetration into the essence of life’s problems, a powerful “release” of life and artistic experience accumulated in the subconscious and its direct inclusion in creativity.

Inspiration gives rise to extraordinary creative energy; it is almost synonymous with creativity. It is no coincidence that the image of poetry and inspiration since ancient times has been the winged horse - Pegasus. In a state of inspiration, an optimal combination of intuitive and conscious principles in the creative process is achieved.

The “I” tries to fit the “It” to the requirements of the “Super-ego”. In this situation, defense mechanisms help the “I” to survive:

· Crowding out

· Sublimation (expression, transformation of drives into various forms of creative activity)

· Symbolization (replacing the object of desire with some symbol), etc.

It is these protective mechanisms that underlie literary creativity.

Throughout his work, Freud called sublimation certain activities prompted by desire that is not clearly directed towards a sexual goal: these are, for example, artistic creativity, intellectual research, and generally socially valuable activities. Freud saw the motivating reason for this kind of behavior in the transformation of sexual drives: “Sexual drive provides cultural work with a huge amount of energy; this occurs due to his inherent ability to change his goal without weakening his pressure. This ability to change the original sexual goal to another, non-sexual, but psychologically close to it, is called sublimation.”

Freud understands the main function of art in a unique way. In “The Future of an Illusion,” he states: “Art, as we have long seen, provides an ersatz satisfaction that compensates for the most ancient, still deeply felt cultural prohibitions, and thereby, like nothing else, reconciles with the sacrifices it has made. In addition, artistic creations, giving rise to the joint experience of highly valued sensations, evoke feelings of identification, which every cultural circle so urgently needs; They also serve narcissistic satisfaction when they depict the achievements of a given culture, impressively reminding them of its ideals.” From this versatile, although far from complete, description of the goals of art, the “compensatory” function most often falls into the field of view of Freud’s followers. That is, compensation for the artist’s dissatisfaction with the real state of affairs. Yes, not only the artist, but also people who perceive art, since in the process of becoming familiar with the beauty of works of art, they find themselves involved in the illusory satisfaction of their unconscious desires, carefully hidden both from others and from themselves.

A person receives genuine pleasure from perceiving works of art, in particular poetry, regardless of whether the source of this pleasure is pleasant or unpleasant impressions.

Freud believes that the poet achieves this result by translating his unconscious desires into symbolic forms, which no longer cause indignation of the moral personality, as could be the case with an open depiction of the unconscious. The poet softens the nature of egoistic and sexual desires, obscures them and presents them in the form of poetic fantasies, causing aesthetic pleasure in people.

In the psychoanalytic understanding, real pleasure from a poetic work is achieved because the soul of every person contains unconscious drives similar to those characteristic of the poet.

Creativity, according to Freud, is a pathogenic process based on a defense mechanism. The writer is a neurotic genius with special abilities for sublimation. In the realm of fiction, he finds satisfaction of drives that cannot be realized in real life, and this is how he avoids neurosis.

The artist is a special personality, a kind of seismograph of the era, whose sensitivity makes him more acutely, subtly feel the conflicts of culture and often leads him not only to escape into alcoholism, neurosis, but even to madness. However, according to Freud, if a neurotic person moves into the unreal world of fantasies, dreams and manias, then the artist, thanks to his highly developed ability for sublimation, switches the energy of lower drives to artistic activity and establishes a connection between the world of his fantasy-desires and the real world. Thus, according to Freud, he avoids neurosis and, moreover, helps his viewers, readers, and listeners to free themselves from their internal tensions.

To be an artist means for Freud the ability, better than most other people, to recognize one’s own conflicts, the hidden sides of the soul, one’s own characteristics, strengths and weaknesses. Therefore, artistic creativity requires a certain perseverance and even courage. An artist is a person who is able to overcome the automatism of a thoughtless existence, to feel illnesses and emotional conflicts of time more acutely and earlier than others. Moreover, the artist is characterized not only by a greater strength of drives, but also by a greater reluctance to give up their implementation. For Freud, to be an artist means to be a fighter for the human right to freedom, it means to strive for the healing of human souls.

Freud sees creativity as a continuation and replacement of the old children's game, in which the poet creates a world that he takes very seriously, bringing into it a lot of enthusiasm, while at the same time, however, sharply separating it from reality. At the same time, it is not a happy person who creates, but only a dissatisfied one. For in order for an image to develop in the soul of a writer or poet, he must be overwhelmed by strong feelings caused by the action of unresolved internal conflicts, which he needs to react in order to free himself from them, since if the writer’s unconscious did not find its realization in artistic fantasy, then the energy of the unconscious would be wasted would create neurosis.

A poet (writer) can work through his conflicts with the help of the images he creates, endowing (through projection and externalization) his characters with contradictory traits of his personality. The deeper the elaboration of the characters' characters, the greater the likelihood of the poet (writer) being freed from conflicts and achieving a more mature attitude towards life. With less depth of image processing, catharsis and temporary release from conflicts take place, and with even less awareness, temporary relief occurs as a result of simply acting out one’s emotions. Since the deep-seated conflicts of the poet’s (writer’s) personality are not worked through sufficiently deeply and comprehensively in the latter case, each new life experience can again turn into a pathogenic one, and for temporary recovery the poet (writer) again requires artistic creativity.

It can be assumed that the Self, having acquired higher internal consistency and flexibility in the process of artistic creativity, is able to cope with conflicts without additional analytical therapy.

Methodology- deciphering the content of the work that the author expressed unconsciously. This goal is achieved through the restoration of the author’s secret biography, hidden even from himself.

The artistic form acts as a substitute symbol for repressed desire.

“The purpose of an artistic form is a compromise and an attempt to deceive the repressive structure of consciousness” / L.S. Vygotsky “Psychology of Art”/

True pleasure, from the point of view of psychoanalysis, lies precisely in the elimination of one’s repressed desires, and not in the perception of an artistic form.

The art form becomes an appendage.

Psychoanalysis focuses our attention precisely on the speaking “I”. And then the word is perceived as a discursive space of dialogue between at least two “I”. (For example, the author and his unconscious, the author and the Other.) Psychoanalysis discovered the principle of the dialogical nature of the word.

It is difficult to resolve from the position of psychoanalysis the question of the essence, the existence of art. How does art, for example, differ from religion? It is impossible to explain the specifics of art using the means of psychoanalysis.

It is one thing to reveal the mechanism of the unconscious in creativity, and quite another thing to reduce all creativity to this mechanism.

· A language was created to describe the unconscious captured in the work

· A new interpretation strategy was created

· Rigid biological determinism, reduction of creativity to the fantasy satisfaction of various drives (great danger of false subjective interpretations)

· Ignoring the aesthetic nature of the work, artistic originality (Freud himself understood this very well and said that he did not consciously engage in this, being interested only in the reflection of the author’s psyche in the work).

Creativity is a process of human activity, the result of which is the creation of new quality material and spiritual values, distinguished by uniqueness, originality and originality. It originated in ancient times. Since then, there has been an inextricable connection between him and the development of society. The creative process involves imagination and skill, which a person acquires by acquiring knowledge and putting it into practice.

Creativity is an active state and a manifestation of human freedom, the result of creative activity, it is a gift given to a person from above. You don’t have to be great and talented to create, create beauty and give people love and kindness to everything around them. Today, creative activities are available to everyone, since there are different types of arts, and everyone can choose an activity to their liking.

Who is considered a creative person?

These are not only artists, sculptors, actors, singers and musicians. Any person who uses non-standard approaches in his work is creative. Even a housewife can be like that. The main thing is to love your work and put your soul into it. Rest assured: the result will exceed all your expectations!

Decorative creativity

This is a type of plastic art, which includes decorative design of the interior (decorating a room using easel painting) and exterior (using stained glass and mosaics), design art (using industrial graphics and posters), and applied art.

These types of creativity provide a unique opportunity to get acquainted with the cultural traditions of their people, foster a sense of patriotism and great respect for human work. Creating a creative product instills a love of beauty and develops technical abilities and skills.

Applied creativity

It is a folk decorative art designed to decorate people's lives and everyday life depending on their requirements. By creating things of a certain shape and purpose, a person always finds a use for them and tries to preserve the attractiveness and beauty seen in them. Objects of art are inherited, from ancestors to descendants. They reveal folk wisdom, way of life, and character. In the process of creativity, a person puts his soul, feelings, and his ideas about life into works of art. This is probably why their educational value is so great.

Carrying out archaeological excavations, scientists find various things and household items. They determine the historical era, relations in the society of that distant time, conditions in the social and natural environments, the capabilities of technology, financial situation, traditions and beliefs of the people. Types of creativity can tell us about the kind of life people led, what they did and were interested in, how they related to everything around them. The artistic features of works of applied art instill in a person respect for the culture and heritage of the nation.

Decorative and applied arts. Types of techniques

What types of applied creativity are there? There are a great many of them! Depending on the method of manufacturing a particular item and the material used, the following handicraft techniques are distinguished:

• Related to the use of paper: iris folding, or rainbow folding of paper, paper plastic, corrugated tubes, quilling, origami, papier-mâché, scrapbooking, embossing, trimming.
• Weaving techniques: ganutel, beading, macrame, bobbin weaving, tatting or knot weaving.
• Painting: Zhostovo, Khokhloma, Gorodets, etc.
• Types of painting: batik - painting on fabric; stained glass - glass painting; stamp and sponge printing; drawing with palms and leaf prints; ornament - repetition and alternation of pattern elements.
• Creating drawings and images: blowing paint through a tube; guilloche - burning a pattern onto fabric; mosaic - creating an image from small-sized elements; thread graphics - making an image with threads on a hard surface.
• Fabric embroidery techniques: simple and Bulgarian cross stitch, straight and oblique satin stitch, tapestry, carpet and ribbon embroidery, gold embroidery, cutwork, hemstitching and many others.
• Sewing on fabric: patchwork, quilting, quilting or patchwork; artichoke, kanzashi and others.
• Knitting techniques: fork; on knitting needles (simple European); Tunisian crochet; jacquard, fillet, guipure.
• Types of creativity associated with wood processing: burning, sawing, carving.

As you can see for yourself, there are a huge number of different types of arts and crafts techniques. Just a few of them are listed here.

Folk art

In works of art created by the people, the main thing is selected and carefully preserved; there is no place for unnecessary things. Objects of folk art are endowed with the most expressive properties. This art embodies simplicity and taste. Therefore, it became understandable, loved and accessible to people.

Since ancient times, people have sought to decorate their homes with objects of folk fine art. After all, they retain the warmth of the hands of a craftsman who understands nature and skillfully selects only the most beautiful things for his objects. Failed creations are eliminated, only valuable and great ones remain alive.

Each era has its own fashion for the interior of a person’s home, which is constantly changing. Over time, strict lines and rectangular shapes become more and more preferred. But even today people draw ideas from a priceless storehouse - people's talents.

Folklore

This is folklore, which is reflected in the artistic collective creative activity of the common man. His works reflect the life, ideals and worldviews created by the people. They then exist among the masses.

Types of folk art:

• Proverbs are poetic mini-works in the form of short rhythmic sayings. The basis is conclusion, teaching and generalized morality.
• Sayings are figures of speech or phrases that reflect life phenomena. There are often humorous notes.
• Folk songs - they do not have an author or he is unknown. The words and the music chosen for them were formed during the historical development of the culture of a particular ethnic group.
• Chatushki are Russian folk songs in miniature, usually in the form of quatrains, with humorous content.
• Riddles - they are found at any stage of development of society among all peoples. In ancient times they were considered a test of wisdom.
• Pestushki - short melodies of mothers and nannies in poetic form.
• Nursery rhymes are songs and sayings that accompany games with a child’s hands and feet.
• Jokes are funny short stories in poetic form.
• It is impossible to imagine types of folk art without chants, with the help of which people during the spread of paganism turned to various natural phenomena, asking them for protection, or to animals and birds.
• Counting rhymes are small rhythmic rhymes. With their help, the leader of the game is determined.
• Tongue twisters are phrases built on a combination of sounds that make them difficult to pronounce quickly.

Creativity related to literature

Literary creativity is represented by three types: epic, lyrical and dramatic. They were created in ancient times, but still exist today, as they determine ways to solve the problems posed to literature by human society.

The basis of the epic is the artistic reproduction of the external world, when the speaker (the author or narrator himself) reports on events and their details as something past and remembered, simultaneously resorting to descriptions of the setting of the action and the appearance of the characters, and sometimes to reasoning. Lyrics are the direct expression of the writer's feelings and thoughts. The dramatic method combines the first two, when characters with very different characters are presented in one play with direct lyrical self-revelation.

Literary creativity, represented by epic, lyricism and drama, fully opens up limitless possibilities for a deep reflection of people's lives and their consciousness. Each literary genre has its own forms:

• Epic - fable, poem, ballad, story, story, novel, essay, artistic memoir.
• Lyrical - ode, elegy, satire, epigram.
• Dramatic - tragedy, comedy, drama, vaudeville, joke, stage.

In addition, individual forms of any kind of poetry are divided into groups or types. For example, the type of literary work is epic. The form is a novel. Types: socio-psychological, philosophical, family, adventure, satirical, historical, science fiction.

Folk art

This is a capacious concept that includes various genres and types of artistic creativity. They are based on original traditions and unique methods and forms of creative activity, which are associated with human labor and develop collectively, based on the continuity of traditions.

Folk art reflects the inner world of a person, his spiritual appearance, and the living memory of the people. There are several periods in its development:

• Pagan (until the 10th century).
• Christian (X-XVII centuries).
• Domestic history (XVII-XIX centuries).
• XX century.

Folk art has undergone a long development process, as a result of which the following types of artistic creativity have emerged:

• Folklore is the worldview and moral beliefs of the people, their views on man, nature and society, which are expressed in verbal, poetic, musical, choreographic, and dramatic forms.
• Decorative and applied art is designed to satisfy the aesthetic needs and everyday needs of a person.
• Everyday amateur creativity is artistic phenomena in the festive and everyday life of a person.
• Amateur art is organized creativity. It is focused on teaching people artistic skills.

Creativity associated with technology

Human labor activity is constantly improving and acquiring a creative character. Many people manage to rise to the highest level in their creations and inventions. So, what is technical creativity? This is an activity whose main task is to create technical solutions that will be novel and have social significance not only in their own country, but also beyond its borders, that is, worldwide. Otherwise, this is called invention, which is equivalent to the concept of technical creativity. And it is interconnected with scientific, artistic and other types.

Great opportunities are open for our contemporaries and all conditions have been created for doing what they love. There are a huge number of specialized clubs, palaces, circles, and scientific societies. In these institutions, adults and children are engaged in aircraft and ship modeling, motorcycle sports, karting, auto design, programming, computer science, and computer technology. Such types of creativity as the development of designs for sports vehicles: mini-cars, autocars, equipment for fishermen, tourists and climbers are very popular.

Psychological aspects of the process of artistic creativity

Additional observations and explanations of the processes of the creative act are offered by modern natural science psychology, those experimental developments and research that are being conducted in the field of neurodynamics of creative activity. This approach to the study of creative activity has a fairly long history. Scientists are interested in what happens in the structures of the brain at the moment of creative activity, what prompts a person to choose the profession of an artist, musician, or writer. Are there physiological foundations that allow us to talk about a person’s predisposition to engage in art? A number of researchers answer this question in the negative. In other works (Auerbach, Tandler) one can find observations about some features of the brain structure of musicians and writers (significant development of the temporal gyri of the brain, transverse gyrus, and in some cases the frontal lobes of the brain).

Studies of neurodynamic processes have shown that the same sounds cause stronger reactions in musicians than in the average person. As is known, all processes of higher nervous activity are based on the mechanisms of excitation and inhibition. Different configurations of the mechanisms of excitation and inhibition determine different types of temperaments, which were identified by Hippocrates. In this regard, a sanguine person is distinguished by a strong, mobile, balanced type of higher nervous activity. Choleric - strong, agile, unbalanced. Phlegmatic - strong, balanced, calm. Melancholic is a weak type.

The mechanisms of excitation and inhibition underlie the formation and establishment of reflex connections, which, in fact, act as an instrument of professional skills, abilities, and techniques of creative activity. The ratio of the forces of excitation and inhibition determines the success of the creative act. Their imbalance, even in one person at different times, leads to the fact that the creative act is carried out at different paces, with different intensities, etc. The establishment of reflex connections between the cells of the auditory and visual analyzers does not occur at any level of excitation. If this level is minimal, then excitation will not be able to overcome the inertia of the environment and spread to the proper extent throughout the brain tissue, therefore, it will not be able to create new conditioned reflex circuits. This state during creativity is subjectively assessed as unsatisfactory. In one of the letters from N.F. von Meck P.I. Tchaikovsky talks about a similar state: “it is very convenient to study here, but until now I have not yet been able to enter that phase of the mental state when one writes by itself, when one does not need to make any effort on oneself, but obey the inner urge to write.”

If at the moment of creativity the excitement is too strong, then the waves of the irritable process will flow freely, providing full opportunity for the implementation of nervous closures. As a result of such “reflexive freedom,” the restoration of sound, musical, and visual traces will be carried out chaotically, without leading to the creation of a finished work of art. musical works. Curbing excitement, cutting off everything superfluous, unnecessary, random is carried out using the braking mechanism. Therefore, on the one hand, the productivity of the creative process depends on the ability to achieve strong arousal, leading to the rapid formation of reflex connections, new “nervous patterns”; on the other hand, from the orderly action of braking mechanisms that secure the emerging outline, allowing one to balance the part and the whole, to create a completed fragment or the entire work at once. A frequent problem of choleric temperament, when the action of excitation mechanisms exceeds inhibition mechanisms - unstructured creative activity, essentially endless. Choleric temperament is more common than others in graphomaniacs in literature, music, and the visual arts. Thoughts are confused and jumping around, feelings overwhelm and flood the artist, but he does not control them, cannot put himself in the framework necessary for this. Such overexcitation has a negative effect on achieving a creative effect.

The optimal condition for creativity is when both excitation and inhibition act as equivalent values. In this case, this is the prerogative of the sanguine person - the strong type. Subjectively, this state is assessed as the best for creative activity; it becomes possible to concentrate on the main thing, the opportunity to eliminate unnecessary thoughts and unnecessary sensations. Creative excitement can be quite fleeting - some motives and stylistic devices flash in the minds of a musician, writer, artist, but in general they do not fit into a single artistic fabric. In order for the birth of a work to take place, long-term support of excitation is necessary, that is, the presence of a so-called creative dominant. Dominant is a specific concept in the psychology of creativity. The physiological dominant acts as a focus of stationary excitation. We constantly encounter in life the existence of different dominants in people. Every fanatic, enthusiast, devoted to a certain idea, has his own expressed preferences; when starting a conversation in society, he always sits on his “horse.” Dominance is the result of the presence in the structures of the brain of strong connections formed throughout life, which, usually in a dimmed state, flare up brightly under certain conditions.

As professional and artistic dominants form, a person begins to notice aspects of the natural and artistic world that were previously inaccessible to him. Every artist knows how difficult it can be to warm up the creative dominant and achieve a state where the creative process goes by itself. “Sometimes I watch with curiosity the continuous work that, by itself, regardless of the subject of the conversation I am having, from the people with whom I am, occurs in that area of ​​my head that is given to music,” writes Tchaikovsky. Sometimes this happens some kind of preparatory work, that is, they finish off the details of the voicing of some previously designed piece, and another time a completely new, independent musical idea appears, and you try to keep it in memory.” All of these introspections support a view of the creative process that is not a walled-off area. In moments of wakefulness and sleep, walks and conversations, an already launched creative process is latently operating within the artist.

Some types of artistic temperament lead to such a strong process of excitement that the artist is often not even able to keep up with the thoughts and ideas that arise on paper. This was the case, for example, with Handel, whose pace of work required shorthand. When working on large choral works, he first wrote down sketches of all the parts, then gradually lost them, coming to the finish line with only one. The energy of a constantly reproduced dominant maintains creative tone. This is why systematic creative work, even when started with great effort, can bring the entire creative apparatus into active condition. “Inspiration is a guest that does not like to visit the lazy” - this well-known maxim of artists is thus experimentally confirmed. With systematic work, when reflex connections are constantly established, updated and trained, the initial impetus for creativity may be insignificant. The weakest influence is sometimes enough to set into motion the entire complex creative apparatus. And vice versa, with prolonged inactivity, it turns out to be much more difficult to get its “rusted” parts off the ground. If there were long breaks, a significant push from the outside is required, because strengthened inhibition within the brain does not immediately allow itself to be overcome by excitation.

Features of higher nervous activity - the degree of its strength, mobility, balance - underlie different requirements for the environment. Thus, authors with weak excitation and inhibition, who have difficulty forming physiological dominants, are extremely demanding of creative work conditions and need “greenhouse” conditions. A favorable environment during creativity acquires exceptional importance for them, activating the nervous processes occurring at the moment. Artists of another type, for example M. Bulgakov, noted from their own experience that “the best works are written on the edge of the kitchen table.”

A special problem of the psychology of creativity is the problem of deterioration and exhaustion of the psyche as a result of prolonged creative efforts. The effectiveness of the prevention of creative work, which is important for both the artist and the scientist, depends on its development. The main thing is the ability to calculate your strength and control your tension. Some people strive to create periods of intense creativity between solitude and communication, others alternate the creative process with walks in nature, for others the work schedule is very important, others can only compose during certain periods of the year, etc. Some artists, aware of the nature of their temperament and the peculiarities of individual psychology, even took some preventive measures aimed at protecting the creative process. Mozart, for example, in a letter to his father asks: “don’t write me sad letters, I need to remain calm, clear, free of thought, and disposition to work. Every sad news deprives me of all this.” And another time: “my life here is full of worries and sorrows, I will not read plaintive and tearful letters.” The process of establishing strong reflexive connections creates familiar paths that manifest themselves in an almost automatic mastery of certain techniques of artistic writing. Over time, these techniques become ossified. Each artist can find this kind of stylistic turns, leitmotifs unique to him, which over time can turn into linguistic cliches. At the physiological level, this means that reflex connections turn into “deep stereotypes.” It is important here that the power of new creative attacks be such that it allows us to constantly destroy and change these stereotypes, to protect them from becoming a cliché. Breaking the background stereotype is most successfully accomplished by choleric people, who are more capable than others of creating, systematically changing the original basis. The choleric artist is marked by extravagant impulses in creativity; Having mastered one genre, he strives to test himself in unfamiliar ones, etc.

Thus, developments in the field of applied (natural science) psychology help to detail and explain a number of observations accumulated by the general theoretical psychology of creativity. The complementarity of these scientific fields is obvious; it allows us to shed light on the difficult-to-explain processes of birth, gestation and implementation of an artistic concept.

Different people are predisposed to artistic creativity to varying degrees: ability - giftedness - talent - genius. An artist who is on a higher rung of this creative ladder retains those qualities that are inherent in those who are located on its lower steps, but must certainly possess a number of additional ones high merits.

Artist's abilities

The abilities of an artist, according to the American psychologist Guilford, involve six inclinations: fluency of thinking, associativity, expressiveness, the ability to switch from one class of objects to another, adaptive flexibility, the ability to give the artistic form the necessary shape. Abilities ensure the creation of artistic values ​​of public interest.

Giftedness

Giftedness presupposes keen attention to life, the ability to choose objects of attention, to consolidate in memory the theme of associations and connections dictated by the creative imagination. An artistically gifted person creates works that have lasting significance for a given society for a significant period of its development. Giftedness is the ability to focus attention on objects worthy of selective attention, to extract impressions from memory and include them in a system of associations and connections dictated by the creative imagination. Talent gives rise to artistic values ​​that have enduring national and sometimes universal significance. “Most people prefer the middle ground between mediocrity and genius - talent. Not everyone wants to exchange their whole life for art. And how many times does a genius, at the end of his career, repent of his choice! “It was better not to surprise the world and live in this world,” says Ibsen in his last drama.” (Shestov. 1991. pp. 72-73).

A genius, while fully expressing the essence of his time, most often seems out of place in his era. He, one might say, pulls the thread of tradition from the past to the future and therefore part of his work belongs to the past and part to the future. And only mediocre contemporaries see only what is in the genius of the present, and even then they see incompletely. “Hateful, boring, annoying work is a condition for the development of genius. That’s probably why people so rarely achieve anything. A genius must agree to cultivate the ass within himself - this condition is so humiliating that a person agrees to it only as a last resort... A genius is a pathetic and blind maniac, to whom all his oddities are forgiven in view of the benefits he brings. And yet we all worship perseverance and genius - the only god in whom modernity still believes” (Shestov. 1991. pp. 72-73). Genius creates the highest universal values ​​that have significance for all times. The artist’s genius is manifested both in the power of perception of the world and in the depth of his impact on humanity. “There is no genius without will, but there is even more, there is even less - without inspiration” (Tsvetaeva. 1991, p. 74). There are many mysterious legends and theoretical speculations around the figure of a genius. In genius there is a “deviation from the norm.” “Genius is rarely found in union with prevailing intelligence; on the contrary, individuals of genius are often subject to strong affects and unreasonable passions” (Schopenhauer. 1900, p. 196). However, artistic genius is not a form of mental pathology and, according to Gogol’s fair judgment, “art is the introduction into the soul of harmony and order, and not confusion and disorder” (Gogol. T. 6. P. 382). This applies both to the impact of the work on the public and to the process of artistic creation.

Principles of interpretation of creativity (philosophical, sociological, cultural aspects)

Creativity is an attribute of human activity, its “necessary, essential, inalienable property.” It predetermined the emergence of man and human society and underlies the further progress of material and spiritual production. Creativity is the highest form of activity and independent activity of man and society. It contains an element of the new, presupposes original and productive activity, the ability to solve problem situations, productive imagination combined with a critical attitude towards the achieved result. The scope of creativity covers actions from a non-standard solution to a simple problem to the full realization of an individual’s unique potential in a certain area.

Creativity is a historically evolutionary form of human activity, expressed in various types of activities and leading to personality development. Through creativity, historical development and the connection of generations are realized. It continuously expands human capabilities, creating conditions for conquering new heights.

A precondition for creative activity is the process of cognition, the accumulation of knowledge about the subject that is to be changed.

Creative activity is amateur activity that embraces changing reality and self-realization of the individual in the process of creating material and spiritual values, new, more progressive forms of management, education, etc. and pushing the limits of human capabilities.

Creativity is based on the principle of activity, and more specifically, labor activity. The process of practical transformation by man of the surrounding world, in principle, determines the formation of man himself.

Creativity is an attribute of activity only of the human race. The generic essence of a person, his most important attributive property, is objective activity, the essence of which is creativity. However, this attribute is not inherent in a person from birth. At this time, it is present only as a possibility. Creativity is not a gift of nature, but a property acquired through work. It is transformative activity and inclusion in it that is a necessary condition for the development of the ability to create. The transformative activity of a person educates him as a subject of creativity, instills in him the appropriate knowledge and skills, educates his will, makes him comprehensively developed, allows him to create qualitatively new levels of material and spiritual culture, i.e. create.

Thus, the principle of activity, the unity of labor and creativity reveal the sociological aspect of the analysis of the foundations of creativity.

The cultural aspect is based on the principle of continuity, unity of tradition and innovation.

Creative activity is the main component of culture, its essence. Culture and creativity are closely interconnected, moreover, interdependent. It is unthinkable to talk about culture without creativity, since it is the further development of culture (spiritual and material). Creativity is possible only on the basis of continuity in the development of culture. The subject of creativity can realize his task only by interacting with the spiritual experience of humanity, with the historical experience of civilization. Creativity as a necessary condition includes the adaptation of its subject to culture, the actualization of some results of past human activities.

The interaction between different qualitative levels of culture that arises in the creative process raises the question of the relationship between tradition and innovation, because it is impossible to understand the nature and essence of innovation in science, art, technology, or to correctly explain the nature of innovation in culture, language, in various forms of social activity without connection with dialectics development of tradition. Consequently, tradition is one of the internal determinations of creativity. It forms the basis, the original basis of the creative act, instills in the subject of creativity a certain psychological attitude that contributes to the realization of certain needs of society.